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Revival of roller derby in the early 2000s garnered significant interest in the sport, and an extensive network of leagues began to form. By 2018, approximately 1,500 leagues were operating in North America, each with a unique logo. In this study, we focus on the league logos as a potent form of embodied fashion representation. Using content analysis, we examined all of the logos for U.S. Women’s Flat Track Derby Association–member leagues and have interpreted our findings through a critical cultural analysis. Revival of roller derby in the aughts has repositioned the sport as inclusive of diverse bodies; however, the logos tell a different story. League logos perpetuate hyperfeminized, thin-centric, white bodies—that is, the norms that derby athletes are performatively challenging through participation in the sport.

This research explores the underlying motivations of individuals who use natural dyes as part of their apparel and textile design practice. Methods include interviews, documentary filmmaking, audio recordings, photography, field work, participant observation research, and field notes. I interviewed a total of 20 natural dyers based in the United States from November 2016 to June 2019 and found three main sources of motivation: (a) perceived environmental and health concerns, (b) personal fulfillment and identity, and (c) the opportunity for autonomy over production. Individuals used natural dyes to infuse meanings into cloth, whether their own perceived environmental and health concerns, a sense of personal fulfillment, or autonomy over the production process. Through these motivations to use natural dyes, it appears natural dyers can share aspects of their personal identity in an object they have colored, infusing meaning into the cloth they dye.

In this study, we examined emotional and physical aspects of chest binding by surveying 61 trans and gender non-binary (TNB) individuals who currently practice compression of mammary tissue through structural undergarments. Participants believed that binding produced better connections with and/or expression of their gender identity (92%, n=52). Through thematic analysis of qualitative responses, we found three non-mutually exclusive reasons for binding: (a) positive emotional feelings elicited by the practice, such as confidence, comfort, and safety (56%, n = 34); (b) aesthetic and visual improvements, like better fit of menswear (51%, n =31); and (c) greater satisfaction with gender expression and amelioration of dysphoria (69%, n = 42). One third of participants were ambivalent about binding, noting both positive and negative aspects. One-quarter said that binding made them feel anxious, sad, or upset, and another quarter mentioned physical difficulties like discomfort, back pain, constraint, and trouble breathing.

The singer–songwriter–artist Joni Mitchell (nee Anderson, born on November 7, 1943) is recognized in the worlds of music and fashion alike for her creative influences since the late 1960s. In this ...

Roller derby began as a sport in the 1920s, fell out of popularity in the 1970s, and garnered interest again in the 2000s, with 1500 leagues worldwide today. In the United States today, the Women’s Flat Track Derby Association (WFTDA) serves as governing body for 236 leagues, each with a unique logo that serves as a visual representation of the team. In this study, we critically analyzed roller derby logos for WFTDA-member leagues (N=296, 100%) across the United States over a period of three weeks in January 2019. WFTDA-member league logos represent mostly cisgender, youthful bodies that were both feminized and violent, with more than half of the logos white- and thin-appearing. Given the power of imagery, WFTDA and roller derby leagues should think through the messages they are sending and whether or not they reflect the women who play the sport and the inclusivity they are trying to create.

p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'}p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'}The purpose of this project was to create a non-woven paper-like textile from my weaving and garment construction remnants. I collected yarn and fabric waste from my creative design work and created a paper like composite from the scraps. Seeds and petals from the Cornell Natural Dye Garden were layered on top of the composite while it was still damp to add texture and color. The composite material was torn apart and hand sewn onto a silk organza base to extend the life of the composite material. What’s Left Over contributes to work surrounding textile waste and reuse, by collecting and utilizing even the smallest pieces left over from garment creation. Future creative research will explore textile composites from various types of fibers and the use of natural dyes as a metamorphic colorant that can change and shift over time. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'}p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Helvetica Neue'}

The triple bottom line can be impacted in both positive and negative ways by the use of tree sawmill waste as a natural dye. Trees contain a biomordant in the form of tannin which may eliminate the need for metallic mordants, thus reducing water, thermal energy, residual waste, and exposure to a mordant chemical. Dyeing with mill waste provides an economic option for an existing timber manufacturing byproduct. This research analyzed the impact of potassium aluminum sulfate (PAS) on dye concentration, hue, and colorfastness to light and laundering for three regional dyewoods (black walnut, Osage orange, and eastern redcedar) on wool yarn. Dye concentrations were pre-tested to find a standard depth of shade between mordanted and nonmordanted yarns. Tests for colorfastness to light and laundering were performed according to AATCC methods. Resulting colors for exposed and unexposed specimens were rated using CIE L*a*b* values and descriptive statistics were used to examine directional relationship within independent variables mordant and exposure (light and laundering). Two-sample t test was performed to investigate the effect of a PAS mordant versus no mordant on overall color difference between specimens exposed to light and laundering. Findings indicated that dye absorption was improved with the use of a PAS mordant. For yarns premordanted with PAS the dyewood colors became warmer. A PAS mordant slightly improved colorfastness to light for black walnut and eastern redcedar, but did not influence Osage orange which had a color change from bright yellow to warm brown after exposure to light. Colorfastness to laundering improved only for Osage orange with a PAS mordant.